Jeff Babicz Guitars Tech Article

The
Hardest Part Is Getting People To Try It!!!!

All
Jeff Babicz Guitars feature the "icZ" Acoustic System, a proprietary technology
from
Babicz Design Ltd. These innovative features are the hallmark of Jeff Babicz
Guitars.
The "icZ" system features these patent pending innovations:

Lateral compression is created by
anchoring the strings directly to the guitar soundboard. The stored
energy is released acoustically as the guitar is played. The
increased strength inherent in the design allows for a more delicate
internal soundboard bracing. The result - unmatched sonic purity.

Designed by a
musician for the musician. Quick, easy, on-the-fly adjustment of string height without altering scale
length or neck pitch. It's so fast, with one turn of the provided
key you can go from high "Slide" action to extremely low "Electric"
action - seamlessly and without de-tuning!

A striking and
innovative new design that allows for intonation adjustment
throughout the life of the guitar. The icZ
bridge is secured to the soundboard through a unique fastener
design that allows the bridge to be repositioned at any time. The
icZ split bridge drastically reduces forward rotational torque.

The
Jeff Babicz Guitar

Ok……..I’ll be honest………………….

When I
first took a look at what Jeff Babicz and Jeff Carano were doing….I
had my doubts. This was back in early 2004……..they had just done
their first NAMM Show with Babicz Guitars. I go way back with
these guys. I used to work very closely with Jeff Carano during my
days at Steinberger. I always told people he was my boss…..it
really pisses him off! But, that’s another story for another time.
Working with Jeff Carano, Jeff Babicz, and Ned Steinberger was both
fun and educational. I made a lot of contacts when I worked there.
Frankly, I would help these guys out even if I didn't like the
guitar !!!!

In any
case, I had a soft spot in my heart for these guys. (That’s right,
sometimes a flower can grow through the cracks in the pavement!)
They were New Yorkers, and I spent most of my life in Connecticut
before settling in Vegas. I knew they got a raw deal from Gibson.
After all, these two guys gave their lives to Steinberger--12 hour
days, seven days a week. These two guys were handling everything
at that company during its most successful period. There was
NOTHING they wouldn’t do for that company! Then Gibson buys the
company. (But that too is another story for another time.) Anyhow,
we all stayed in touch. These guys even flew out to see me on a few
occasions….to really demo the guitars in person. But….I still had
my doubts.

"It
looks different!" Now, we all know that I can handle things that
are “out of the norm." I was the top Steinberger seller for many,
many years….and one look at my website will tell you that I won’t
shy away from something that’s “different." I guess I still needed
to be convinced.

The
first prototypes they showed me were acoustics! I thought, I can't
sell these! I believed die-hard, traditionalist, acoustic guys
would NEVER accept strings splayed over the top of the soundboard
like that--what Jeff and Jeff call their “Lateral
Compression” system. I had to admit though….it really
sounded very, very good. I was surprised. Babicz is one of the few
true engineers in this industry who can also play guitar. His
explanation of how the soundboard reacted not only made sense, but
it was easy to validate by listening and playing the guitars. And
finally, he is guitar designer NOT motivated by ego or any other
agenda. Jeff Babicz is completely dedicated to the design of
guitars that sound and perform fantastic. He will not shy away from
any innovation that achieves this goal. He thinks “outside of the
box.” (I HATE that stupid expression!) What I mean to say is, he
can imagine and implement designs that work, designs that no one
else has ever thought or created. (Babicz
Design has the patents to prove it!)

The
more I considered the Babicz Guitar, the more I could see that it
really, really made sense. With the Babicz design……there is NO WAY
for the top to “belly up”--EVER. With the Babicz design and their “Torque
Reducing Split Bridge,” you can adjust the intonation…. FOR
THE LIFE OF THE GUITAR!

And yet…..I still thought……”What if I can’t sell it?”

At the end of their
demo, the guys show me the “Continually
Adjustable Neck.” Jeff Babicz proceeds to raise and lower
the strings in relation to the fret board. (I have since learned
that he really raises and lowers the neck in relation to the
strings.) He gets the sample guitar to have real high “slide”
action, then really low “Taylor” buzzy action, in a matter of
seconds. But here’s the thing…..THE GUITAR STAYS COMPLETELY IN
TUNE! I had to see it again! Even then I had to try it for myself
to believe it. You plug the allen wrench in the heel of the neck,
and just turn! Clockwise for higher action, counter-clockwise for
lower action. You can set the guitar up for exactly the gauge
strings you use, for exactly the feel you want….IN SECONDS. And,
you don’t even have to re-tune. (I don't like that super low Taylor
action myself... You really get better tone with a slightly raised
action!)

In a
word…….”BRILLIANT.”

But…..what if I
can’t sell it?????????

Babicz and Carano
know, as well as anybody in the industry, that just having the best
sounding, best playing guitar is not enough. And more than
that…they know full well that having a guitar that looks “different”
is a big challenge. Everybody in the industry says they’re looking
for something “different,” then you show them something different,
and they all go “NO WAY, THAT’S TOO DIFFERENT!” (Arghhhhh. That
really gives me a case of the red ass.)

I always say,
"It's easy to build a better guitar; the hard
part is to build a better name brand." Building a name brand
takes money, and lots of it. People don't buy good products today.
They are all foolishly buying name brand, name recognition, and all
the BS hype that goes with it. (Don't get me started. I'm feeling
the makings of a rant bubbling up inside me.)

Carano tells me,
“There is nothing anyone is going to say to me that I have not heard
before………I used to sell guitars without headstocks, so don’t waste
my time telling me how “weird” this is…What? You don’t think I
already KNOW it looks weird?!?” (I’ve noticed Carano has gotten a
lot crankier in his old age….I’d like to think I had something to do
with that!)

I once sold a
beautiful Ford Bronco to Carano….mint condition, …..but that’s yet
another story for another time. If you want to get him going, just
ask him about it! (Pretty Funny)

Weird is one
thing….but functionality is another…..and I can now say for
sure…Babicz has NAILED IT! These guitars sound and feel and perform
brilliantly.

But………what if I
can’t sell it?!?!

Fast forward to
March 2006………………..

These guys have
been very, very busy over the last two years. They each quit their
six figure, Internet Tech jobs and went full time into Babicz
Guitars. And more than a few people have noticed. Important
people. People like Todd
Rundgren……………………………..….Earl Slick…..K.K. Downing……Howard Leese…..Joe
Lynn Turner…..J.J. French……Adrian Belew….and one of my all time
favorite guitarists….
Huey Thomasson. And, oh yeah, Ed Roman has definitely noticed it...

And it hasn’t been
just the artists. (Notice how all the artists they have are
accomplished PLAYERS?) I couldn’t help but notice the press. Each
review was better than the last. The review by Teja Gerken in
Acoustic Guitar Magazine summed it up best when he said “One
important factor to keep in mind when playing the Babicz is that its
tonal character changes depending on how the neck is
adjusted.......it’s fascinating to hear how these adjustments affect
the Identity’s sound, especially when you consider that most guitars
require time-consuming detuning, saddle replacement, and retuning—at
the very least—to get the same result.”

Well, that’s all
well and good…..BUT CAN I SELL IT?

I just got my first
SPIDER….and better yet, I’m one of the very first US Dealers to get
Babicz’s new OCTANE.

Now…THESE I CAN DEFINITELY SELL!

The SPIDER is the
perfect acoustic/electric……..very cool looking in all black w/
chrome hardware. (These guys still have some Steinberger in their
blood.) It sounds just as great playing rock as it does when you’re
finger-picking. I can easily say it’s the most versatile
acoustic/electric I’ve ever had in my shop….and I’ve had them all!

The quality of the
SPIDER is impeccable: all solid Mahogany, very well put together,
killer sound which comes alive with the included L.R. Baggs Element
On Board System. No wonder Todd permanently retired his
Takamines….and no wonder K.K.Downing uses these as his exclusive
acoustic/electric, either in the studio or on stage.

The SPIDER comes
with a high quality TKL hard shell case with the most comfortable
figure-8 handle I’ve seen. Thankfully, Babicz and Carano learned
not to skimp on the extras. The guitar lists at $1195.00. I of
course will give you a great discount....All Solid
Wood….L.R.Baggs….TKL Case…….under a grand. I can describe the
SPIDER in two words….

NO APOLOGIES.

Put it up against
anything else in its price range…its not even a fair fight!

Now…for the
OCTANE………

This guitar
outright ROCKS! Right out of the case (also very nice) this axe is
striking….beautiful black top over a stunning Mahogany body, with 2
Pearly Gates that scream if you want them to, or clean up real nice
if that’s what you prefer.
I will also make the Duncan
Black/Backs available to anyone who wants them.

I was instantly
amazed by the feel….there’s something about the way the string
anchors work that make the strings feel very relaxed on the fret
board. Players say that with a Babicz, it always feels like you’re
using strings one gauge lighter than you actually are. If you’re
using 11’s, they feel like 10’s, if you’re using 12’s, they feel
like 11’s.

The sustain out of
this guitar is nothing short of unbelievable. Even when it’s not
plugged in….there’s a “feel” you get from the guitar….it friggin’
feels ALIVE. Plug it in, and you are instantly inspired. As with all
Babicz guitars….tweak the neck to where it feels just perfect for
you…….you just can’t do this on any other guitar.

The guys told me it
was inspired by Billy Gibbons. The story goes that Billy checked out
a SPIDER at one of the ZZ Top shows in Manhattan Kansas. Jeff Carano
was there to meet with Keith Urban, who was also on the bill, but
then had the chance to hook up with Elwood Francis backstage.
(Elwood is Billy’s long time tech and has worked for Billy for many
years in helping him put his legendary collection together).

Elwood was blown
away by the SPIDER, and brought it to Billy. Billy also loved it,
but said “acoustic guitars are bad luck for me. Get an electric
together, with all the Babicz features, and you’ve got a winner!”

So Jeff Babicz went
to work on his bench. These guys always wanted the electric version
anyway, and Billy’s encouragement was just the motivation they
needed. Babicz nailed it……this guy really know guitars, and
everything he comes up with has a purpose. Any doubts I had were
instantly gone after a few minutes with the Octane.

Elwood said that
“this guitar becomes part of the player”….that’s the best
description I’ve heard yet.

I’m taking these
guys a whole lot more seriously now. My buddy Huey Thomason has a
Shitload of great guitars, but he says he will not travel without
his Babicz Jumbo. Huey knows his guitars….so does Howard Leese….so
does Adrian Belew. There’s a reason they play Babicz….and now I know
what that reason is.~ER

“In
a matter of seconds I took the Jumbo Cutaway from a robust strummer
To a low-action flat picking shred machine. It’s really amazing.”

When I first started playing guitar, I always wanted something
different. I didn’t want to play the same guitars that everybody
else played. I guess on some level I knew then that having an
identity on the guitar was one of the trickiest things to come by,
and a unique instrument would get me one step closer. Over the
years, I’ve come to realize that the reason so many players choose
the same instruments is because those instruments are awesome, and
I’ve added a few tried and true classics to my collection. But I
never completely lost that desire to play something unique. That’s
part of the reason I wanted to check out the Babicz line of
acoustics. I was intrigued by the way the strings splayed out over
the guitar’s top, creating a look that was reminiscent of bike
spokes or bridge cables. And although that may be the most
noticeable feature of these instruments, it’s clear that Babicz has
a lot of unique ideas going on.

The Jumbo Rosewood Cutaway($1,895 retail as tested with L.R. Baggs iMix system is part of Babicz’s Identity Series of
handcrafted acoustics. Aside from the obvious visual component of
the Jumbo Cutaway—the array of strings anchored around the guitar’s
lower bout—there are plenty of other cool cosmetic features. The
solid spruce soundboard looks sweet. The gloss-finished solid
rosewood back and sides are beautifully rich, as is the use of
rosewood for the headstock overlay, bridge, and string retainer. The
black tuning machines and string anchors bring a rock-and-roll
toughness to the Jumbo Cutaway.
Structurally, there is a lot going on with this guitar. Let’s look
first at the way the it’s strung. Rather than a standard bridge,
Babicz guitars employ an “Adjustable Torque Reducing Split Bridge.”
The design is meant to address what Jeff Babicz sees as drawbacks to
traditional designs. Basically, the strings don’t terminate at the
bridge, which is what causes the bellying effect on acoustic tops.
Instead, the strings pass over the bridge, through the string
retainer (which in turn puts downward pressure on the bridge), and
on to the string anchors on the lower bout. Attaching the strings to
the top not only looks bitchin’, it also spreads out the string pull
to the entire soundboard—not just the center, which is actually the
weakest part of the top. This method also allows Babicz to employ
much lighter bracing—bracing that can be designed for sonic, rather
than structural, considerations. This results in a soundboard that
can move more freely for better tonal balance and truer bass
response.
If that’s not forward-thinking enough for you, there’s the
Continually Adjustable Neck. Anyone who has tried to adjust the
action on an acoustic knows that it can be a risky, invasive
procedure. Lowering the saddle changes the tone and resetting the
neck can only be done by a skilled pro. What Babicz has done is to
give players the ability to change their action on the fly with an
ordinary Allen wrench. Not to be confused with the trussrod
adjustment (which these guitars also feature), using this Allen
wrench at the neck heel moves the neck up and down in relation to
the strings. There is no change in neck angle and thus no real
change in pitch. It really works. In a matter of seconds, I took the
Jumbo Cutaway from a robust strummer to a low-action flat picking
shred machine. I took the action so low that it buzzed and then
cranked it up high enough to play slide. It’s really amazing and the
handy clamp to hold the Allen wrench on the back of the headstock
takes me back to my Floyd Rose days—yeah!
So enough about all the high-tech stuff—how does this guitar sound?
In a word, great. The Jumbo Cutaway has a full, clear voice with
excellent balance. It has a present, articulate sound with uncommon
clarity from string to string. Maybe because of the neck design or
the string arrangement, this guitar has incredible sustain,
particularly in the upper register. On the Babicz website, he talks
about avoiding the “dreaded fretboard ‘dropoff’” past the neck/body
joint and that problem certainly seems to be solved here.
The Jumbo Cutaway sports the L.R. Baggs iMix pickup/preamp system,
making it a great gigging guitar. In fact, when you plug in, the
adjustable neck becomes an even cooler feature. I found that a lower
action, when played with a light touch, made for a great amplified
acoustic tone that was easy on the hands. But whether you play it as
a straight acoustic or plug it in, this guitar rocks. Very cool.

Babicz Signature D’esque

The D’esque ($9,995 retail/street N/A) represents Babicz’s
high-end Signature Series and they do a great job of presenting this
beautiful instrument in the most flattering light. First you have
the bomb-proof hardshell case that appears to be covered in faux
rhino skin. Open it up and there’s gorgeous purple velvet on the
inside that would have made a great coffin for Elvis when he
(allegedly) died. There’s a temperature/hygrometer gauge inside to
ensure that the D’esque is comfy.
The body shape is similar to a dreadnought (which explains the name,
as in “dreadnaught-esque”) but with a narrower waist, smaller upper
bout, and a rounded lower bout. Visually speaking, this guitar is
simply stunning. Everything about it is top-notch, from the German
spruce top (with a nitrocellulose, high-gloss lacquer finish) to the
figured Brazilian rosewood back, sides, and headstock veneer to the
one-piece Honduran mahogany neck, this is one of the sweetest
looking acoustics I’ve ever seen. The tortoiseshell binding is
luscious and the abalone inlay is very classy. The gold Grover
locking tuners (with ebony buttons) reinforce the notion that this
is a serious, high-end instrument.
The D’esque is sonically beautiful as well. It’s loud and full and
has a very present quality, helped out by the awesome side port that
serves as your own personal monitor. Compared to the Identity, I
hear more highs, more lows, and more volume out of the D’esque. It’s
inspiring to play, with a clear, distinct voice that works great for
finger-picking or strumming. A term some testers used was “modern”
to describe the D’esque’s timbres, and that seems fitting. Certain
passages have a clarity on this guitar that I had a hard time
matching on other acoustics—almost like a 6-string high-definition
TV.
I once again had a blast raising and lowering the neck on the
D’esque and I discovered another cool thing: Babicz’s Continually
Adjustable Neck System makes it much easier to use more extreme
tunings, both above and below standard pitch. For instance, dropping
most acoustics down to DADGAD or below (say, to open C) typically
necessitates using heavier strings to avoid the rattling and buzzing
caused by the decreased string tension. Not with this guitar. I took
out the trusty Allen wrench and simply raised the D’esque’s action
until the rattles went away. It took about five seconds. Conversely,
I found that higher tunings, such as open e and eBeABe (DADGAD up a
full step)—unadvisable if not impossible on most acoustics—were
actually manageable on the D’esque because I could lower the action.
Unless you’ve tried a D’esque, it’s fair to say that you’ve never
played anything like this. It’s not cheap, but it is in line with
many handcrafted, top-of-the-line acoustics. This guitar would be
perfect for players—admittedly well-heeled players—who don’t want
what an old-school acoustic offers. Or, more likely, the D’esque
will appeal to players who already have some benchmark acoustics in
their collection and want to add a future classic.